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Lot 227
Grouping of Two (2) Native American Table Top Items. Includes: Bill Worrell (born 1936) Bronze shaman sculpture mounted on stone base, and ceremonial feathered stone sculpture inlaid with turquoise. Bronze sculpture is signed and numbered 15/150 on obverse side. Bronze measures 10" H x 5" W, sculpture measures 6-1/2" L. Condition: Rubbing otherwise good condition Estimate: $50.00 - $100.00 Domestic Shipping: $72.00
Lot 233
Grouping of Four (4) Inuit Stone Carved Hunter Sculptures. One is Signed Jaco Ishulutaq. Tallest measures 6-7/8" H x 5-1/2" W, smallest measures 5-1/4" H x 4" W. Condition: Jaco sculpture needs to be glued to base and has a small nick to top others good condition Estimate: $150.00 - $250.00 Domestic Shipping: $88.00
Lot 56
Jack Butler Yeats RHA (1871-1957)A Lament for Art O'Leary (1940) A set of six illustrations, pen and ink, variously sized 14 x 18.4cm up to 20 x 16cm (5½ x 7¼'' to 7¾ x 6¼'')Variously signed, signed with monogram and with monogram stamp;Together with a 2nd edition, Cuala Press. A Lament for Art O'Leary. Translated from the Irish by Frank O'Connor, with six illustrations by Jack. B. Yeats RHA. Reprint, 1971, for the Irish University Press, T.M. MacGlinchey Publisher, Robert Hogg PrinterProvenance: With Theo Waddington, Irish Art Project.Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Press, 1994, Catalogue No.1474, illustrated p.203, 204 and 205.Jack B. Yeats’s illustrations to the Lament for Art O’Leary are among his most expressive and memorable drawings. Cuala Press brought out a limited edition of 130 copies of Frank O’Connor’s translation of the 18th century poem in 1940 for which Yeats supplied six pen and ink illustrations. These were hand-coloured by Eileen Colum and Kathleen Banfield of the Cuala Press in the printed edition.The poem is the celebrated Lament of Eileen O’Connell composed in Irish for the wake of her husband Art O’Leary who was murdered on the orders of the local magistrate Abraham Morris in 1773. O’Leary came from a landed Catholic family and served as a captain in the Hussars of the Austro-Hungarian army. The couple lived in Rathleigh House, near Macroom, Co. Cork. Eileen was of the O’Connell family of Derrynane, Co. Kerry and an aunt of the future politician, Daniel O’Connell. Preserved orally for generations, her Lament is one of the last manifestations of the bardic poems of Gaelic Ireland. Frank O’Connor in his introduction to the poem, writes that the lament comes from ‘a world where the mind has no yesterday and no tomorrow’. Yeats’s drawings capture the despair and grief of Eileen as she mourns the violent death of her young husband. She searches for his body, grieves for him and buries his corpse. Yeats does not illustrate specific lines but creates a parallel vision of the tale in his epic pen and ink images. O’Connor described them as ‘noble drawings’ and they evoke the elegance and graciousness of the aristocratic heritage of the protagonists as well as the dramatic scenery of the Boggeragh mountains near Macroom where the events take place. The first illustration depicts O’Leary on his horse, galloping in the mountainy landscape of north Cork. He cuts an impressive figure, despite his evident youth. Holding his riding crop aloft, he wears a military style jacket and elegant hat, a reference to his status as an officer in the Austrian army. His silver hilted sword is prominently displayed. Art’s swaggering pose, which antagonised Morris, is mirrored by that of his horse who holds its head and neck erect adding to the noble demeanour of its young rider. This image is contrasted by the next illustration of Eileen walking upright and proudly with her two sons. The infant is tied by a shawl to her shoulders while his brother walks beside her. Behind them are high mountains and little cottages. The isolation of the widow and children after O’Leary’s death is emphasised in the lament where Eileen notes that there ‘hangs no throng of mourners’ as disease has decimated the people and prevented their attendance. The third illustration shows O’Leary’s horse standing at the gateway with its saddle empty. The bay mare’s return without its mount alerted Eileen to the fate of her husband and prompted her to search for him. One of the most impressive and unusual illustrations is that of Eileen on horseback as she goes in pursuit of O’Leary. Her locks runs wild, her arms are astray and her face and hair become subsumed into the surrounding sky. The rearing horse accentuates the wildness of her emotions. The treatment of the image encapsulates the inner grief and turmoil as expressed in the lines ‘On me is the griefThere’s no cure for in Munster. Till Art O’Leary riseThis grief will never yield That’s bruising all my heart, Yet shut up fast in it. ‘It also refers to the anger and vengefulness that Eileen expresses towards Morris, the man responsible for O’Leary’s death, who is referred to as ‘the bandy-legged monster, May he rot and his children’.In the last two illustrations Eileen is shown grieving over the body of her husband and carrying his coffin to be buried in the deserted cemetery of Cill na Martra. In the former, she finds O’Leary’s badly injured body where it had fallen from the horse at Carrignanimma. She kneels over the corpse, blood pouring from her hands. To the right the strange form of a standing stone, covered by O’Leary’s jacket, looks like a shroud or a spirit, suggestive of the reverberations of this violent death. The sweet expression of the woman’s face is contrasted by the contorted and ravaged features of the cadaver below her. The horse grazing in the background and the surrounding lush vegetation refer to the continuity of natural life, now lost forever to O’Leary. In the final illustration Eileen carries her husband’s coffin to an isolated cemetery surrounded by high mountains. Her body is contorted under the weight of the casket, her physique turned into a sinuous line expressive of sorrow. The empty scene of a young woman burying her dead in a remote landscape recalls imagery and accounts of the Great Famine. Visually it links the end of the Gaelic nobility to the next cataclysmic event in Irish history. The darkness of the Lament and the imagery it evokes is mitigated by the subtle manner by which Yeats has drawn the illustrations. Strong thick strokes of ink are counteracted by delicate hatching lines that convey shadow and movement, resulting in lively fluid drawings that exude energy and vigour. Yeats conveys a version of Eileen’s story that works independently of the text, offering the reader a visual sequence that is vivacious and contemporary. Róisín Kennedy May 2019
Lot 345
A white metal pink sapphire and diamond cluster dress ring, the central pink stone approximately 3 carats, 8.7 x 6.48 x 7.15mm, surrounded by 2 tiers of round brilliant cut diamonds approximately 2.5mm totalling approximately 2 carats, the white metal shank unmarked but testing as 18ct, overall weight 5.8gms
Lot 218
§ John Lancaster (British, 1913-1984) Still life of lilies, roses and peonies in a glass bowl on a stone ledge with a snail signed lower right 'John Lancaster 1967' oil on board 60 x 50cm (23 x 20in) Other Notes: Born in 1913 in India, John Lancaster was educated at Marlborough College and had a distinguished career during World War II with the RAF. He established himself as a painter in 1947, exhibiting at the Royal Academy. He lived at Aspenden, Hertfordshire, and died in 1984. Oil on board. Overall the support and paint layers are in a good condition. There are a few minor losses at the bottom of the vase. Mould has developed on the revers of the board which has started to form on the surface. The varnish is glossy, clear and even. There are a few losses to the gilded surface of the frame.
Lot 234
An 18ct gold and diamond five stone dress ring, a gentleman's Buler wristwatch and two lady's wristwatches Condition of the ring:The ring is in fair condition with no apparent major damages. The central diamond is approximately 4mm in diameter and the flanking diamonds are approximately 2mm diameter.The ladies wristwatch strap is gold plated.
Lot 1260
Ï’A group of silver jewellery and costume jewellery, including: a silver coloured turquoise necklace, set with oval turquoise in collet settings, with heart and bead detailing, on a belcher link chain, stamped 925, 56cm long; a silver bangle, with bead detail and set with a circular cabochon blue stone, 6.5cm diameter; a pair of moonstone earrings, stamped 925, 10cm long; a coral necklace; and other items Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 808
Eighteen silver coloured small boxes, various 20th century dates, various standards, one set with a hard stone and four enamelled, including: an American rectangular desk double stamp box by Gorham Manufacturing Co., date code for 1900, engraved with a monogram; a Vietnamese square box by Da Fu, Huế, circa 1890-1930, 4cm (1 1/2in), 395g (12.7 oz) gross; and three others base metal (21)
Lot 811
A collection of silver and silver coloured small boxes, some unmarked, various stamped marks, mainly 20th century, including: a jockey cap example, unmarked, engraved Restaurant Jockey Madrid 1945-1970; an octagonal pendant powder compact by Henry Williamson Ltd, Birmingham 1918, with a mirror insert; some stone mounted or enamelled, 584g (18.8 oz) gross; together with others in base metal
Lot 1043
A freshwater cultured pearl and diamond necklace and bracelets, the necklace with two rows of freshwater cultured pearls with two brilliant cut diamond accented spacers, approximately 0.20 carats total, to a central circular cut white stone set orb, 42.5cm long; the bracelets each with two rows of cultured freshwater pearls with two diamond accented spacers, 18.4cm long and 19cm long
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